SPANISH  MAIOLIGA 

IN    THE    COLLECTION     OF 

HE   HISPANIC    SOCIETY   OF  AMERICA 


BY 

EDWIN   ATLEE   BARBER,    PH.D. 

Director  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art 
Philadelphia,  Pa. 


THE    HISPANIC    SOCIETY    OF    AMERICA 

156TH   STREET,  WEST   OF   BROADWAY 

NEW  YORK,  1915 


PUBLICATIONS  OF 

THE   HISPANIC   SOCIETY  OF  AMERICA 
No.  91 


Ov 


MAJOLICA   BUST  OF  COUNT  ARANDA 

Alcora 

Eighteenth  Century 
(See  No.   56,   page  74) 


SPANISH   MAIOLICA 


IN    THE    COLLECTION     OF 


THE   HISPANIC    SOCIETY    OF  AMERICA 


BY 

EDWIN   ATLEE   BARBER,    PH.D. 

Director  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art 
Philadelphia,  Pa. 


THE     HISPANIC     SOCIETY     OF    AMERICA 

156TH    STREET,   WEST   OF   BROADWAY 

NEW  YORK,  1915 


Copyright,  1915,  by 
THE  HISPANIC  SOCIETY  OF  AMKRICA 


SPANISH    MAIOLICA 


1733106 


SPANISH   MAIOLIGA 


TIN  enameled  pottery  without  metallic  luster  was 
being  fabricated  at  several  places  in  Spain  in  the 
fifteenth  century,  and  at  the  beginning  of  the  sixteenth 
the  Italian  influence  began  to  make  itself  strongly 
felt,  especially  in  the  tiles,  or  azulejos,  which  were 
used  to  decorate  the  walls  of  religious  structures. 
The  principal  seats  of  manufacture  were  Seville  and 
its  suburb  Triana ;  Talavera,  and  Alcora. 

"Seville  was  an  early  and  important  centre  of 
the  potter's  craft  in  Spain,"  writes  Leonard  Williams.* 
"Her  potteries  were  celebrated  even  with  the  Romans, 
and  probably  have  at  no  moment  been  inactive.  Fifty, 
established  in  the  suburb  of  Triana,  were  mentioned 
in  tjie  sixteenth  century  by  Pedro  de  Medina,  and 
documents  which  tell  of  many  more  have  recently 
been  discovered  by  Gestoso.  .  .  .  The  ware  of 
the  Cartuja  factory,  which  reached  the  zenith  of  its 
fame  towards  the  end  of  the  eighteenth  century,  is 

*Thc  Arts  and  Crafts  of  Older  Spain. 
[5] 


considered   by   Jacquemart   and   other   authorities   to 
rival  with  the  Italian  wares  of  Savona. 

"Pottery  made  in  other  parts  of  the  Peninsula  — 
particularly  that  of  Talavera  de  la  Reina  —  is  known 
to   have   been    imitated   by   the    Seville    potters   with 
embarrassing  perfection." 

The  same  writer  informs  us  that  "The  produc- 
tion of  azulcjos  in  Spain  may  be  traced  to  as  far 
back  as  the  twelfth  century.  By  far  the  most  impor- 
tant centre  of  the  craft  \vas  Seville.  Here,  from  the 
twelfth  until  the  fourteenth  century,  \vas  made  the 
glazed  and  decorative  tiling  which  consisted  of  small 
pieces  of  monochrome  earthenware  —  black,  white, 
green,  blue,  or  yellow  —  cut  one  by  one,  and  pieced 
together  in  the  manner  of  a  true  mosaic.  This 
process,  says  Gestoso,  was  lengthy,  difficult,  and  dear. 
Towards  the  sixteenth  century  the  Sevillano 
potters  discovered  a  simpler  way  of  making  effective 
and  artistic  azulcjos,  which  they  called  the  cucrda  scca 
process."  These  tiles  \vere  extensively  produced  at 
Seville  through  the  following  centuries,  and  many  of 
them  may  be  seen  in  the  walls  of  the  upper  corridor 
of  this  Museum. 

The  painted  tile-work  of  Seville  gained  for  her 
a  well-merited  reputation  during  the  latter  part  of 
the  sixteenth,  and  through  the  two  following  centu- 

[6] 


ries.  Large  quantities  of  these  tiles  and  panels  were 
sent  to  Mexico,  Peru  and  the  West  Indies  and  other 
Spanish  possessions  to  be  used  in  the  mural  decora- 
tions of  churches,  convents  and  other  structures. 

Talavera  de  la  Reyna,  in  the  province  of  Toledo, 
a  short  distance  to  the  southwest  of  Madrid,  in  cen- 
tral Spain,  has  been  noted  for  its  manufactures  of 
earthenware  since  the  middle  of  the  sixteenth  century. 
Fr.  Andres  de  Torrejon  wrote  in  1568  that  the  pot- 
tery made  at  Talavera  had  then  "reached  to  a  great 
height  of  perfection ;  it  is  formed  of  white  and  red 
clay.  Vases,  cups,  .  .  .  dishes  and  table  centres 
.  are  painted  with  great  perfection,  and  the 
imitations  of  porcelain  brought  from  the  Portuguese 
Indies  are  most  excellent.  .  .  .  The  varnish  used  for 
the  white  pottery  is  made  with  tin  and  sand.  .  .  . 
This  sand  is  as  fine  and  soft  as  silk."* 

Many  other  writers  of  the  sixteenth,  seventeenth 
and  eighteenth  centuries  speak  in  high  terms  of  the 
enameled  earthenware  of  Talavera.  In  1651  eight 
kilns  were  in  operation  there,  employing  two  hundred 
workmen.  Oriental  porcelain  and  Italian  maiolica 
were  imitated  to  a  large  extent.  The  wares  were  of 
two  varieties,  that  decorated  in  blue  on  a  white 

*Quoted   from  a  ms.    (Bib.   Nac.  F.   142)    by   Seiior  Juan   F. 
Riano  in  The  Industrial  Arts  in  Spain. 

[71 


ground,  and  that  painted  in  polychrome  —  manganese, 
green,  yellow,  and  blue.  To  the  eighteenth  century 
belong  those  examples  of  the  latter  style  which  are 
frequently  found  in  collections.  The  influence  of  the 
Italian  maiolists  reveals  itself  in  the  imitations  of 
albarellos,  barrel-shaped  jars  and  other  objects  of 
Savona  and  Genoa  painted  in  blue.  Large,  deep  bowls 
with  paintings  of  animals,  cavalcades,  hunting  scenes 
and  battles,  in  polychrome,  after  the  Italian  maiolica, 
were  abundant,  some  of  the  more  important  pieces 
being  in  imitation  of  the  works  of  celebrated  artists, 
notably  Antonio  Tempesta,  a  Florentine  painter  and 
etcher  who  lived  from  1555  to  1630. 

An  important  fabrique  of  faience  was  established 
at  Alcora,  in  the  eastern  part  of  Spain,  north  of 
Valencia,  by  Count  Aranda  in  1726.  Serior  Juan  F. 
Riano*  has  given  us  a  very  interesting  account  of 
this  establishment,  which  includes  lists  of  articles 
made  there,  covering  a  wide  range  of  wares,  figures, 
groups  and  other  articles,  in  the  last  quarter  of  the 
eighteenth  century,  and  a  list  of  directors,  artists 
and  workmen  connected  with  the  factory  from  the 
beginning  until  the  end  of  the  century. 

The  first  products  of  the  factory,  which  appeared 
in  1727,  were  stanniferous  potteries  in  the  styles  of 
*Tlte  Industrial  Arts  in  Spain. 

[8] 


Chinese  porcelain,  Italian  maiolica  and  Holland  delft. 
Writers  in  the  eighteenth  century  bear  testimony  to 
the  excellence  and  variety  of  wares  which  came  from 
the  Alcora  kilns. 

In  1750  the  works  were  transferred  to  a  private 
company  by  Count  Aranda,  but  he  continued  to  take 
a  lively  interest  in  the  enterprise  until  his  death,  in 
1798.  About  the  middle  of  the  century  the  manufac- 
ture of  porcelain  \vas  introduced.  Soon  after  1815 
the  production  of  artistic  ware  was  abandoned,  but 
ordinary  wares  continued  to  be  made  until  after  the 
middle  of  the  nineteenth  century. 

Few  writers  on  ceramic  art  have  made  a  serious 
study  of  pastes  and  glazes,  relying  entirely  on  the 
superficial  appearance  of  different  wares,  their  forms 
and  peculiarities  of  decoration.  For  this  reason  many 
of  the  attributions  of  the  earlier  writers,  from  whom 
much  of  our  knowledge  has  been  obtained,  are  found 
to  be  incorrect,  and  for  lack  of  technical  knowledge 
some  recent  authors  have  fallen  into  the  same  errors. 
Through  familiarity  with  the  processes  practised  by 
different  peoples  at  various  times  it  is  often  possible 
to  discover  the  source  of  disputed  wares  and  to  reach 
a  logical  conclusion  with  tolerable  certainty. 

In  studying  the  ceramic  collections  of  the  His- 
panic Museum,  the  \vriter  has  found  numerous  ex- 

[91 


amples  which  have  hitherto  eluded  all  attempts  at 
classification.  Through  the  careful  examination  and 
comparison  of  their  pastes,  glazes  and  technical  treat- 
ment, it  is  believed  that  some  of  these  problems  have 
now  been  solved.  Certain  processes  are  known  to 
have  been  employed  in  particular  manufacturing  cen- 
tres, and  examples  of  pottery  which  have  hitnerto 
been  placed  in  the  category  of  unidentified  wares,  or 
attributed  to  a  doubtful  provenance,  but  which  are 
now  found  to  possess  the  characteristics  and  peculi- 
arities of  known  wares,  in  composition,  glazing  and 
decorative  treatment,  are,  in  the  light  of  present 
knowledge,  assignable  to  definite  localities,  if  not  to 
particular  fabriques. 

It  is  believed  by  certain  ceramic  students  that  at 
Puente  del  Arzobispo,  near  Toledo,  a  peculiar  variety 
of  maiolica  was  being  made  previous  to  1645,  at 
which  date  eight  kilns  were  in  operation  at  that  place. 
While  there  has  been  some  uncertainty  as  to  the  exact 
provenance  of  this  fabric,  Baron  M.  J.-C.  Davillier* 
claimed  to  have  seen  a  plate  which  was  marked  in  lull, 
"Arzobispo,"  and  on  the  strength  of  this  discovery  he 
attributed  all  pieces  of  the  same  character  to  that  fac- 
tory. 

*Histoirc  dcs  Paienccs  Hispano-Moresques. 
[10] 


Examples  of  this  ware  in  the  collection  of  Senor 
Don  (j.  J.  de  Osma,  of  Madrid,  have  been  assigned 
to  the  last  quarter  of  the  fifteenth  century.  Refer- 
ring to  plates  of  this  character,  Gestoso  says:  "Their 
decoration,  betraying  at  a  glance  the  Saracenic  influ- 
ence, consists  of  leaves  and  flowers,  together  with 
animals  of  a  more  or  less  fantastic  character:  lions, 
rabbits  and  birds.  In  other  specimens  the  centre  is 
occupied  by  a  heart,  fleurs-de-lis,  or  other  fancy 
devices,  or  yet,  in  some  few  cases,  with  the  head  of 
a  man  or  woman.  These  central  designs  are  sur- 
rounded with  leaves  and  flowers.  The  draughtsman- 
ship upon  these  plates  is  of  the  rudest,  and  the  process 
of  their  colouring  was  as  follows.  The  figures  were 
drawn  upon  the  unfired  surface  in  manganese  ink 
mixed  with  a  greasy  substance ;  and  after  this 
the  aqueous  enamel  or  glaze  was  allowed  to  drop 
from  a  hogshair  brush  into  the  spaces  which  the  black 
had  outlined."*  This  was  the  method  used  in  the 
decoration  of  cucrda  seca  tiles. 

A  critical  examination  of  this  variety  of  ware 
will  show  that,  while  it  has  been  covered  with  stan- 
niferous enamel  ground,  the  polychrome  decoration 
has  been  executed  in  transparent  glass  glazes.  The 

*Quoted  by  Leonard  Williams  in    The  Arts  and  Crafts  of 
Older  Spain. 

[II] 


presence  of  the  latter  in  conjunction  with  tin  enamel 
is  suggestive  of  a  modification  of  Saracenic  processes 
by  Persian  or  Egyptian  influence.  It  is  stated  by 
certain  writers  that  some  Persians  settled  in  Spain 
in  the  fifteenth  century,  among  whom  may  have  been 
potters. 

The  cucrda  scca  method  of  decoration,  as  exem- 
plified in  these  plates,  is  identical  with  that  by  which 
some  of  the  tiles  of  Seville  were  produced,  and  be- 
cause the  latter  are  also  ornamented  with  colored 
glass  glazes,  it  is  probable  that  the  plates  and  certain 
of  these  tiles  may  have  possessed  a  common  origin. 
In  support  of  this  supposition  Williams  remarks  that, 
"as  quantities  of  cucrda  scca  tiles  were  made  at 
Seville,  Gestoso*  prudently  suggests  that  we  should 
designate  as  'cucrda  scca  ware'  that  pottery  which  has 
hitherto  passed  as  specially  belonging  to  Puente  del 
Arzobispo."  This  modification  of  the  formerly  ac- 
cepted attribution  of  Davillier  would  indicate  the 
belief  that  these  plates  are  probably  of  Seville  origin. 

EDWIN  ATLEE  BARBER 


*Senor  Jose  Gestoso  y   Perez. 
[12] 


CATALOGUE  OF 
SPANISH   MAIOLIGA 

1.  PLATE 

Diameter,  13  inches 

Heraldic  device   in  blue  in  centre,   beneath 
which  is  an  inscription,  "P,  PDo?  MATHEO,  DEL- 
REA."      Surrounding  central  device  and   around 
edge  a  border  design  of  large  blue  dots. 
Talavera,  eighteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest. 

2.  PLATE 

Diameter,  13^4  inches. 

Central  design  of  birds  and  flowers  rudely 
painted  in  blue.     Around  the  marly  six  panels, 
each  enclosing  a  flower  and  fern-leaf  pattern. 
Talavera,  eighteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest.   PLATE  I 

3.  PLATE 

Diameter,   11^2   inches. 

Central  heraldic  design  surrounded  by  rude 
leaf-work  in  blue. 
Talavera,  early  eighteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest. 

[13] 


4.  TAZZA 

Diameter,  10  inches. 

Birds  and  flowers  painted  in  heavy  dark 
blue. 

Talavera,  eighteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest.  PLATE  TI 

5.  PLATE 

Diameter,  8%    inches. 

Heraldic  design  in  blue  in  centre.     Around 
the  border  an  inscription,  "D.  DIEGO  DE  LEDESMA 
NUNEZ  DE  PRADO." 
Triana,  or  Seville,  eighteenth  century.     PLATE  III 

6.  ALBARELLO,   OR   PHARMACY  JAR 

Height,  8  inches. 

Double-headed  crowned  eagle   of  the   Aus- 
trian dynasty,   in  blue.      Blank   label   below    for 
the  insertion  of  the  name  of  a  drug. 
Talavera,  eighteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest. 

7.  ALBARELLO 

Height,    6$i    inches. 

Decorated  with  heraldic  shield  in  dark  blue 
—  arms  of  Castile-Leon. 
Seville,  or  Triana,  eighteenth  century. 

The  Seville  (Triana)  ware  has  a  heavier 
and  more  creamy  enamel  and  is  painted  in  a 
darker  and  better  blue  and  with  a  heavier  brush 


PLATE  I 


2.  PLATE 

Talavera 

Eighteenth  Century 


PLATE  II 


4.  TAZZA 

Talavera 

Eighteenth  Century 


PLATE  III 


5.  PLATE 

Seville 

Eighteenth  Century 


than  that  of  Talavera.  It  has  a  whiter  body,  not 
so  pink  as  that  of  Talavera,  and  the  bases  of 
albarelli  are  usually  quite  flat,  or  with  slight 
instead  of  pronounced  basal  rims.  PLATE  IV 

8.  ALBARELLO 

Height,  6  inches. 

With  heraldic  shield  in  blue  —  a  lion  ram- 
pant. 
Seville,  eighteenth  century.  PLATE  V 

9.  ALBARELLO 

Height.    5^6    inches. 

Double-headed  crowned  eagle  of  the  House 
of  Austria,  in  blue.     In  label  beneath,  "P.  DIAT- 
RIUM  SANT." 
Talavera,  eighteenth  century.  PLATE  V 

IQ.  ALBARELLO 

Height,  4l/2  inches. 

Cartouche     in     front     with     rococo     frame 
painted  in  blue. 
Talavera,  eighteenth  century. 

ii.  ALBARELLO 

Height,   9  inches. 

Heraldic  device  painted  in  blue  —  a  shield 
enclosing  a  rayed  circle  bearing  the  inscription 
"Charitas"  in  black. 
Seville,  or  Triana,  eighteenth  century. 

[21] 


12.  ALBARELLO 

Height,  ii  13/16  inches. 

Heraldic  shield  painted  in  blue.  At  bottom 

a  blank  label  surrounded  by  rococo  frame,   for 
name  of  a  drug. 

Talavera,  eighteenth  century.  PLATE  VI 

13.  ALBARELLO 

Height,  ioJ/&  inches. 

Armorial  device  in  blue. 
Talavera,  eighteenth  century.  PLATE  VII 

14.  ALBARELLO 

Height,  gfy  inches. 

Painted  in  blue  with  figures  of  men,  and 
houses,  covering  the  entire  surface.  At  top  and 
bottom  a  border  design  composed  of  lozenge  and 
elliptical-shaped  figures  with  dots  inside  and 
between. 
Seville,  eighteenth  century.  PLATE  VII 

15.  ALBARELLO 

Height,  7^4  inches. 

Decorated  in  blue  with  figure  of  lion  ram- 
pant,   beneath    which   is   a   label   containing   the 
inscription,  "G,  ET,  R,  MIRR." 
Seville,  eighteenth  century.  PLATE  IV 

[22] 


PLATE  IV 


r 


PLATE  V 


<  w  § 

~  n  t 


PLATE  VI 


12.  ALBARELLO  20.  ALBARELLO 

Talavera 
Eighteenth  Century 


PLATE  VII 


W 


16.  ALBARELLO 

Height,  7^4  inches. 

Heraldic  device  in  front  painted  in  blue  —  a 
lion  rampant. 
Seville,  or  Triana,  eighteenth  century. 

17.  ALBARELLO 

Height,  cp/9,  inches. 

Decorated    with    shield    bearing    the    letters 
IHS  and  cross,  in  blue. 
Seville,  eighteenth  century. 

18.  ALBARELLO 

Height,  8J/6  inches. 

Embellished  with  the  double-headed  eagle  of 
the  Austrian  dynasty,  crowned,  with  monogram 
A  M  on  breast,  painted  in  blue. 
Seville,  or  Triana,  eighteenth  century. 

19.  ALBARELLO 

Height,  9^4  inches. 

Heraldic  design  in  blue.     At  bottom  a  label 
bearing  the  inscription,  "Pun.  GOM." 
Seville,  eighteenth  century. 

20.  ALBARELLO 

Height,   12  inches. 

Decorated  with  two  coats  of  arms  in  colors, 
between  which   runs  diagonally  a  label  bearing 


the  inscription,  "MIXAE."   Ground  mottled  in  blue 

with  yellow  spots. 

Talavera,  eighteenth  century.  PLATE  VI 

21.  ALBARELLO 

Height,  9J/2  inches. 

Covered  with  a  conventional  floral  design  in 
blue  and  dull  red.      At  top  the  inscription,  "G. 
EUPHORBI." 
Alcora,  early  eighteenth  century. 

22.  DISH 

Length,  iol/2  inches. 

Convexly  lobed  sides.  Painted  with  fruits 
and  flowers  in  colors.  Inscribed,  "D,  FAVSTIO', 
AGVADO." 

Alcora,  early  nineteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest. 

23.  CUP 

Tall  shape,  without  handle.     Decorated  with 
landscapes  in  colors. 
Alcora  (?),  eighteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest. 

24.  CUP 

Tall  shape,  without  handle.     Decorated  with 
scrolled  design  in  blue. 
Talavera,  early  nineteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest. 


PLATE  VIII 


JL>    CJ 

- 


PLATE  IX 


'     ^r 


34,  36.  INCENSE  BURNERS 

Talavera 
Eighteenth  Century 


25.  BENITIER 

Height,  13^4  inches. 

In  blue  and  dull  red  glaze. 
Seville,  nineteenth  century. 

26.  BENITIER 

Height,  13%  inches. 

Modeled   alcove   with   pillars    supported   by 
cherubs  and  human  figures,  in  blue,  yellow,  green, 
and  brown. 
Seville,  nineteenth  century. 

27.  BENITIER 

Height,  11^4  inches. 

Relief  figures  representing  the  Crucifixion 
and  the  two  Marys,  colored  green  and  dark  blue. 
Seville,  nineteenth  century. 

28.  BENITIER 

Height,  9^4  inches. 

Head  of  the  Virgin  in  relief,   in  blue  and 
white. 
Seville,  nineteenth  century. 

29.  BENITIER 

Height,  iol/2  inches. 

Figures  of  the  Virgin  and  Child  in  relief. 
Cup-shaped  receptacle.     Decorated  in  blue. 
Seville,  nineteenth  century. 

[37] 


30.  TAZZA 

Diameter,   io^4  inches. 

Quartered  design  in  blue. 
Talavera,  seventeenth  century. 

31.  ALBARELLO 

Height,  7^4  inches. 

Arched  panel  in  front  with  blue  floral  frame, 
enclosing  the  figure  of  a  stag  in  brown  and  yel- 
low.    Heavy,  lustrous  enamel. 
Seville,  or  Triana,  early  eighteenth  century. 

PLATE  VIII 

32.  ALBARELLO 

Height,  7^4  inches. 

Arched  panel  with  blue  floral  frame  in  front, 
enclosing  the  figure  of  a  fawn  in  brown  and  yel- 
low.    Heavy,  lustrous  enamel. 
Seville,  or  Triana,  early  eighteenth  century. 

PLATE  VIII 

33.  ALBARELLO 

Height,  7^4  inches. 

Painted  with  figures  of  birds  and  trees  in 
yellow,  green,  and  purple. 
Talavera,  eighteenth  century. 

34,35-  INCENSE   BURNERS    (Pair) 

Height,  8%  inches.    Length,  7  inches. 
In   form  of  a   lion  with  open  mouth,   and 
socket  at  the  top  of  the  head.    Decorated  in  blue, 
yellow,  orange,  and  brown. 
Talavera,  eighteenth  century.  PLATE  IX 

[38] 


PLATE  X 


37.     DEEP  BOWL 

Talavera 
Eighteenth  Century 


PLATE  XI 


38.  BOWL 

Talavera 

Eighteenth  Century 


36.  INCENSE  BURNER 

Height,  6fy$  inches.     Length,  5^/2  inches. 
Same  form  as  preceding,  with  blue,  dull  red 
and  brown  mane  and  lemon-colored  body. 
Talavera,  eighteenth  century.  PLATE  IX 

37.  DEEP  BOWL 

Diameter,  12^  inches.     Height,  6l/2  inches. 

Central    armorial    design    in    green,    yellow, 
and    brown,    inscribed    "BiBA    JESUS."      Ground 
diapered  with  sprigs  and  leaves.     Outside  deco- 
rated with  broad,   waving  bands   of  green   and 
yellow  with  leaf  sprigs  between. 
Talavera,  eighteenth  century. 
Presented  by  Mrs.  Robert  W.  de  Forest. 

PLATE  X 

38.  BOWL 

Diameter,  13^2  inches.     Height,  6l/s  inches. 

Central  design  of  man  on  horseback,  with 
a  tree  forming  the  border  at  each  side,  painted 
in  green,  yellow,  and  purple.  Outside  decorated 
with  a  running  design  of  foliage  and  figures  of 
a  hare,  a  fox  and  a  bird. 
Talavera,  eighteenth  century.  PLATE  XI 

39.  BOWL 

Diameter,   n^  inches.     Height,  6-]/^  inches. 

Interior  decorated  with  figure  of  a  dog,  with 
a  tree  on  each  side,  in  green,  yellow,  and  purple. 
Outside  decoration  conventional  trees  and  foliage. 
Talavera,  eighteenth  century.  PLATE  XII 

[43] 


40.  JAR 

Height,  21^  inches. 

Globular  form,  cylindrical  neck.  Figure 
scenes  painted  in  green,  yellow,  and  purple.  On 
one  side  two  men  with  a  horse  led  by  a  boy.  On 
the  reverse  a  woman  seated  on  a  bed,  conversing 
with  another  woman,  a  young  man  and  an  older 
man  with  long  beard  and  eyeglasses.  Around 
the  neck  smaller  figure  scenes.  Handles  modeled 
in  the  form  of  a  man  with  arms  raised  over 
head,  and  naked  body  terminating  in  a  large  leaf- 
shaped  antefix.  Surmounted  by  cover  with  large 
ball  fmial. 
Talavera,  eighteenth  century.  PLATE  XIII 

41.  JAR 

Height,  23JM$  inches. 

Inverted  pear  shape,  long  cylindrical  neck. 
Decorated  with  hunting  scene  —  an  archer  draw- 
ing a  bow  on  a  stag  standing  beneath  trees.  On 
reverse,  a  boldly  painted  design  of  dragons  amid 
flames  and  clouds.  The  coloring  is  blue,  green, 
purple,  orange,  and  brown. 
Talavera,  eighteenth  century.  PLATE  XIV 

42.  BOWL 

Diameter,  20^/4  inches.     Height,  9*4   inches. 

Inside    decoration    probably    painted    after 
Tempesta,   an  Italian  artist  of  the  early  seven- 

[44] 


PLATE  XII 


39.  BOWL 

Talavera 

Eighteenth  Century 


PLATE  XIII 


40.  COVERED  JAR 

Talavera 
Eighteenth  Century 


PLATE  XIV 


41.  JAR 

Talavera 

Eighteenth  Century 


PLATE  XV 


42.  LARGE  BOWL 

Talavera 
Eighteenth  Century 


teenth  century,  in  the  prevailing  colors  of  this 
variety  of  Talavera  maiolica  —  green,  yellow, 
orange,  brown,  and  purple,  touched  with  pale 
blue.  A  mounted  knight  carrying  a  spear  is 
leading  three  bulls,  while  a  second  horseman 
follows,  surrounded  by  a  handsome  rococo  bor- 
der in  light  blue.  Exterior  decoration  consists 
of  a  stag  and  a  dog,  repeated,  separated  by 
spreading  trees. 
Talavera,  eighteenth  century. 
Presented  by  Seiior  Joaquin  Sorolla.  PLATE  XV 

43.  EWER 

Height,  8J4  inches. 

Oinochoe  shape,  with  twisted  handle.  In 
front  an  irregular  medallion  framed  in  rococo 
style  in  red  and  yellow,  enclosing  the  inscription : 

"Cofradia 
Sacrament 
Es  Sebas, 
El  Madrid 
A.  E  1760" 

The  frame  is  supported  on  each  side  by  a  green 
and  a  dull  red  flag.  At  sides  are  trees  in  blue. 
Around  neck  the  following  inscription: 

"Senor  Pedro  Angita." 

Talavera,  date,  1760.  PLATE  XVI 

[53J 


44-  APOTHECARY'S  MORTAR 

Height,  Sl/2  inches. 

Inverted  truncated  cone  shape  with  heavy 
cylindrical  unglazed  base  for  standing  in  a  socket. 
Three  loop  handles  at  sides  and  back  and  small 
lip  in  front.  Decorated  with  converging  lines  in 
green,  with  brown  dashes  filling  up  the  spaces. 
Made  of  very  heavy,  coarse  red  clay,  covered 
with  stanniferous  enamel. 
Morocco,  eighteenth  century.  PLATE  XVII 

45.  APOTHECARY'S    MORTAR 

Height,  &/4  inches. 

Similar  in  form  and  decoration  to  preceding. 

46.  BOWL.  OR  SCODELLA 

Diameter,   7^4    inches. 

With  deep,  hemispherical  cavetto,  broad 
marly  and  turned-up  edge,  standing  on  foot. 
Decorated  in  six  panels,  alternately  green  trian- 
gular and  manganese  purple  briquette  designs,  on 
a  heavy  white  tin  enamel. 
Morocco,  early  nineteenth  century.  PLATE  XVIII 

47.  BOWL,  OR  SCODELLA 

Diameter,  7^4  inches. 

Similar  in  shape  to  preceding.      Decorated 
with   rude   figure   of   bird   painted    in   green,    in 

[54] 


PLATE  XVI 


43.  EWER 

Talavera 

1760 


PLATE  XVII 


44.  APOTHECARY'S  MORTAR 

Morocco 
Eighteenth  Century 


PLATE  XVIII 


46.  BOWL 

Morocco 

Early  Nineteenth  Century 


PLATE  XIX 


47.  BOWL 

Morocco 

Nineteenth  Century 


centre,  surrounded  by  green  and  manganese  lines, 
in  thick  white  enamel. 

Morocco,  nineteenth  century.  PLATE  XIX 

(Fragments  of  similar  dishes  have  been 
found  on  the  site  of  a  fabrique  in  a  suburb  of 
Algiers.*) 

48.  BOWL 

Diameter,   g$4   inches. 

Figure  of  rabbit,  or  hare,  painted  in  centre 
in  black.  Border  design  of  arches  containing 
starred  and  rayed  diapering.  The  glaze,  which 
was  applied  over  a  thin  coating  of  white  slip, 
has  been  almost  entirely  worn  away,  but  where 
traces  remain  it  appears  to  be  lead. 
Probably  Seville,  of  the  fifteenth  century. 

PLATE  XX 

49.  PLATE 

Diameter,  8%  inches. 

Decoration  of  a  hare  covered  with  light 
brown  glass  glaze  surrounded  by  leaf  designs  in 
blue,  green,  and  brown  glass  glaze,  on  a  white 
stanniferous  ground,  in  cucrda  seca  style. 

So-called  Puente  del  Arzobispo. 
Probably  Seville,  fifteenth  century.          PLATE  XXI 

*Vide  Hispano-Morcsque  Ware  of  the  XI'.  Century,  by  Van 
de  Put,  Edition  1911.     Footnote  3,  page  3. 

[63] 


50.  PLAQUE 

Diameter,  15*4  inches. 

Same  technique;  central  design  of  a  wyvern 
(a  winged  monster  with  dragon's  head  and  long 
nowed  tail).  Glass  glaze  colors  —  blue,  green, 
and  brown  —  superimposed  on  a  white  tin-enam- 
eled ground. 

So-called  Puente  del  Arzobispo. 
Probably  Seville,  late  fifteenth  or  early  sixteenth 

century.  PLATE  XXII 

51.  PLAQUE 

Diameter,  15^  inches. 

Similar  technique ;  central  design  of  a  harpy 
(a  bird  with  a  woman's  head  and  body).     Glass 
glaze   colors  —  blue,    green,   and   light  brown  — 
superimposed  on  a  white  tin-enameled  ground. 

So-called  Puente  del  Arzobispo. 
Probably  Seville,  late  fifteenth  or  early  sixteenth 

century.  PLATE  XXIII 

52.  FINIAL   (Gate  Post) 

Height,  2i*4  inches. 
FORM. — Acorn  shape. 

DESIGN. — Upper  half  divided  into  vertical 
bands  covered  with  yellow,  brown,  and  green 
glass  glaze,  separated  by  narrow  bands  of  white 
tin  enamel.  Lower  section  similarly  decorated ; 
central  band  embellished  with  leaf-shaped  orna- 

[64] 


PLATE  XX 


48.  BOWL 

Seville  (?) 

Fifteenth  Century 


PLATE  XXI 


49.  PLATE 

So-Called  Puente  del  Arzobispo  Ware 
Fifteenth  Century 


PLATE  XXII 


50.  PLAQUE 

So-Called   Puente  del  Arzobispo  Ware 
Late  Fifteenth  Century 


PLATE  XXIII 


51.  PLAQUE 

So-Called  Puente  del  Arzobispo  Ware 
Fifteenth  Century 


ments   covered   with   green,   yellow,    and   brown 

glass  glaze  on  white  tin  enamel.     This  example 

belongs  with  the  so-called  Puente  del  Arzobispo 

ware,   the   decoration   being   in   the   cnerda  seca 

style. 

Probably  Seville,  eighteenth  century.  PLATE  XXIV 

53-  FINIAL 

A    companion    to    preceding,    with    slightly 
varying  design. 

54.  VASE 

Height,  isYs  inches. 
Diameter  of  mouth,  10%  inches. 

At  equal  distances  around  the  body  are 
three  shields  in  green,  bearing  crudely  executed 
arms.  Space  between  filled  with  bryony-leaf 
pattern  in  brown.  Below  is  a  broad,  boldly 
painted  palmated  band  reserved  in  white  on  a 
brown  ground.  At  bottom  a  scroll  band  in 
brown.  Coarse  red  clay. 
Seville  (?),  eighteenth  century. 


55-  DISH 

Diameter,  13^  inches. 

FORM.  —  Curved  cavetto,  marly  slightly 
sloping  upward. 

DESIGN.  —  Decoration  in  brick  red  and  blue 
on  a  very  hard,  speckled,  muddy  white  enamel. 

[73] 


In  centre  a  bird  of  paradise  surrounded  by  floral 

and    curled    leaf,    or    plume-like    ornaments,    in 

cavetto  and   springing  from   four  points  on  the 

marly. 

Spanish,  early  eighteenth  century.          PLATE  XXV 

56.  PORTRAIT  BUST 

Height,  285/2  inches. 
Diameter  at  base,  14  inches. 

Count  Aranda,  founder  of  the  factory  at 
Alcora.  The  head  and  queued  peruke  are  in 
white  enamel.  The  outer  robe,  draped  over  the 
left  shoulder,  is  dark  yellowish  brown,  with  lining 
representing  ermine.  Beneath  the  robe  is  a  corse- 
let enameled  in  dark  blue,  with  engraved  bor- 
dering. The  sleeves  of  the  shirt  beneath  are 
turquoise  blue,  trimmed  with  orange.  Around 
the  neck  is  a  white  neck-cloth,  and  falling  from 
the  shoulders  a  chain  composed  of  alternate  rec- 
tangular links,  separated  by  knots.  The  model- 
ing is  of  great  excellence  and  is  evidently  the 
work  of  a  skilful  artist. 
Alcora,  eighteenth  century.  See  Frontispiece. 

57-  JAR 

Height,  22  inches. 
Diameter  of  mouth,  9  inches. 

Ovoid  form;    decoration,  in  pale  blue  on  a 
white    stanniferous    ground,    consisting    of    two 

[74] 


PLATE  XXIV 


>, 

<u   != 


co  U 


. 

w 


55-  DISH 

Spanish 
Eighteenth  Century 


PLATE  XXVI 


57-  JAR 

Probably  Toledo 
Seventeenth  Century 


horizontal  zones  containing  paintings  of  birds 
and  plants  arranged  alternately  in  six  rectangu- 
lar panels.  At  base  a  narrow  band  of  scroll- 
work. The  treatment  shows  the  influence  of  the 
Genoa  and  Savona  potters  of  Italy,  some  of 
whom  went  to  Spain  in  the  seventeenth  century. 
The  clay  is  coarse  and  of  a  light  red  color. 
Probably  Toledo,  seventeenth  century. 

PLATE  XXVI 

58.  JAR 

Height,  28^4  inches. 

Ovoid  form ;  the  circumference  divided  into 
bands,  averaging  two  and  a  half  inches  in  width, 
by  pronounced  ridges  running  diagonally  from 
collar  to  base,  between  which  are  applied  reliefs 
of  human  figures,  masks,  shields  with  lions 
rampant,  castles,  fleur-de-lis,  shrines,  detached 
rosettes,  and  other  rosettes  enclosed  in  triangular 
ornaments.  A  circle  of  bosses  extends  around 
the  shoulder. 

Coarse  reddish  clay,  covered  with  a  bright 
green  glass  glaze,  showing  Eastern  influence. 
Probably  Seville,  early  sixteenth  century. 

PLATE  XXVII 

59.  BAPTISMAL  FONT,  OR  PILA 

Diameter,  36  inches. 

Octagonal,    bowl    shape,   with   conical   base. 
The  rectangular  panels  are  fifteen  inches  in  height 
and  are  embellished  with  reliefs  of  shields  bear- 
[81] 


ing  the  initials  I  H  S  and  an  impressed  human 
hand  at  each  lower  corner,  alternating  with  other 
panels  containing  crosses  in  relief  with  a  rosette 
at  each  side.  On  the  sides  of  the  projecting  cor- 
nice at  the  top,  which  is  three  inches  in  height, 
are  deeply  sunken  decorations  —  a  meander  de- 
sign above  the  crosses  and  Arabic  strap-work 
over  the  shields.  At  the  four  angles  of  each 
panel  is  an  impressed  human  eye.  On  the  upper 
edge  or  top  of  the  cornice,  at  each  of  the  angles, 
is  a  human  right  hand  impressed,*  while  at  the 
inner  edge  behind  the  angles  are  similar  hands 
with  palms  facing  outward  between  two  human 
eyes. 

The  surface  of  the  font  is  covered  with  a 
white  tin  enamel,  the  reliefs  being  colored  deep 
green. 

The  font  was  originally  elevated  on  a  cylin- 
drical stem  or  pedestal,  but  this  has  disappeared, 
leaving  an  irregular  hole  in  the  bottom,  where 
the  support  was  broken  away. 
Seville,  or  Triana,  fifteenth  century. 

PLATE  XXVIII 


*Leonard  Williams  describes  an  early  tinaja  from  Seville 
which  is  stamped  with  symbolic  hands,  "such  as  we  see  upon  the 
Gate  of  Justice  of  the  Alhambra." 

[82] 


PLATE  XXVII 


58.  JAR  WITH  GREEN  GLAZE 

Seville 
Early  Sixteenth  Century 


PLATE  XXVIII 


GLAZED    AND    ENAMELED    TILES 

Six  distinct  processes  were  employed  in  the 
embellishment  of  tiles  by  the  Spanish  potters : 

1.  MOULDED  OR  STAMPED,  the  design  being  pro- 
duced by  means  of  moulds,  the  reliefs  being  either 
colored  in  a  different  glaze  or  in  the  same  color  as 
the  ground.     This  style  of  tile  appeared  at  an  early 
date  and  may  belong  to  the  latter  part  of  the  thir- 
teenth century. 

2.  THE    MOSAIC,    which    consisted    of    placing 
together,   to    form   regular   designs,    small   pieces   of 
glazed  monochrome  tiles   of  various  colors  —  black, 
white,  blue,  green,  and  yellow  —  which  had  been  cut 
into  desired  forms.     This  process  was  in  vogue  from 
the  twelfth  until  the  fourteenth  century.* 

3.  THE  CUERDA  SECA,  which  is  thus  described 
by  Williams : 

"Towards  the  sixteenth  century  the  Sevillano 
potters  discovered  a  simpler  way  of  making  effective 
and  artistic  Azulejos,  which  they  called  the  cuerda 
scca  process.  This  novel  method  consisted  in  pressing 
a  wood  or  metal  mould  upon  the  unbaked  tile,  in  such 
a  manner  that  the  outline  of  the  pattern  remained  in 
slight  relief.  This  outline  was  next  brushed  over 
with  a  mixture  of  manganese  and  grease,  which  turns, 

*Riano  believed  that  it  was  only  in  the  province  of  Andalusia 
that  the  art  of  cutting  tiles  into  mosaic  patterns  was  known. 

[87] 


in  baking,  very  nearly  black.  The  body  of  the  pattern 
was  then  filled  in  with  the  various  colours,  which  the 
greasy  line  completely  separated,  and  thus  prepared, 
the  tile  was  rendered  permanent  by  firing." 

The  effect  of  this  treatment  was  that  of  a  mosaic, 
formed  of  variously  colored  glazes,  or  enamels,  con- 
fined within  the  dark  manganese  lines,  and  appearing 
slightly  in  relief.  The  usual  patterns  were  of  a  geo- 
metrical character,  often  representing  bands  of  inter- 
lacing strap-work,  between  which  the  unglazed  clay 
could  often  be  distinctly  seen.  This  method  was  in 
use  from  the  latter  part  of  the  fifteenth  century  until 
about  the  middle  of  the  sixteenth. 

4.  THE  CUENCA,  which  consisted  in  stamping 
the  entire  surface  with  an  intaglio,  or  champleve  pat- 
tern, in  which  the  outlines  are  in  relief.     A  peculi- 
arity of  this  variety  of  tile-work  is  the  use  of  colored 
glass  glazes  to  fill  the  sunken  parts,  which  are  sur- 
rounded by  a  tin-enameled  background.     These  tiles 
were  produced  extensively  at  Seville  in  the  sixteenth 
and  seventeenth  centuries. 

5.  THE  PISANO,  or  painted,  which  derives  its 
name    from    Francesco    Niculoso    Pisano,    an    Italian 
artist  who  went  to  Seville  about  1500  and  introduced 
the  art  there.     Tiles  or  tile-work  of  this  variety  pos- 
sess a  plain  flat  surface  with  painted  decorations  on 
white  or  monochrome  enamel  in  the  Italian  manner. 
This  style  of  decoration  continued  to  be  popular  until 
the  eighteenth  century. 

[88] 


6.  THE  INLAID,  the  design  being  stamped  in  the 
clay,  or  left  flush  with  the  surface,  the  background 
being  cut  away;  the  depressed  parts  were  then  filled 
with  white  slip  and  the  surface  covered  with  lead 
glaze. 

Senor  Jose  Gestoso  y  Perez  has  treated  the  tiles 
of  Spain  very  thoroughly  in  his  Historic,  de  los  Barros 
Vidriados  Sevillanos. 

60.  TILE 

Dimensions,  3%  x  3*4  inches. 

Lozenge  form,  containing  a  shield  bearing 
an  eagle  stamped  in  relief  and  colored  blackish 
purple,  with  dark  yellow  or  caramel  glaze.  Light- 
red  clay. 

From  the  church  of  Santa  Marina,  Seville. 
Presented  by  Senor  G.  J.  de  Osma,  of  Madrid. 
Gestoso  attributes  these  tiles  to  the  thirteenth 

century.  PLATE  XXIX 

61.  TILE 

Dimensions,  3%  x  3%  inches. 

Lozenge  form,  with  shield  enclosing  a  three- 
towered  castle  stamped  in  relief  and  tinted  with 
an  amber  yellow,  or  honey-colored,  glaze.  Light 
red  clay. 

From  the  church  of  Santa  Marina,  Seville. 
Presented  by  Senor  G.  J.  de  Osma,  of  Madrid. 
Gestoso  attributes  these  tiles  to  the  thirteenth 

century.  PLATE  XXIX 

[89] 


62.  TILES  (8) 

Sizes,  from  i^4  to  3^4  inches. 

Cut  into  various  forms,  pentagonal,  elon- 
gated hexagonal,  castle  shape,  lozenge  and  five- 
pointed  star  (with  one  larger  point). 

Monochrome    enamels  —  blue,    green,    tur- 
quoise, brown,  and  white. 
Mosaic  cut  tiles  of  the  latter  part  of  the  thirteenth 

century. 

From  Del  Palacio  de  los  Alixaver,  Granada. 
Presented  by  Senor  D.  Juan  Riario.  PLATE  XXX 

63.  PANEL 

Dimensions,   10  x  14^4  inches. 

Mosaic  composed  of  small  pieces  of  tiles  cut 
into  various  shapes  —  eight-pointed  stars,  hexag- 
onal,    spear-head,     ribbon,     etc.  —  enameled     in 
white,  brown,  black,  green,  blue,  and  fitted  to- 
gether in  a  strap-work  design. 
Seville,  thirteenth  century. 
Presented  by  Mr.  F.  Hopkinson  Smith. 

PLATE  XXXI 

64.  TILE 

Dimensions,  6y$  x  6jH?  inches. 

Decoration  of  strap-work  in  two  squares 
arranged  as  an  eight-pointed  (Moslem)  star, 
enclosing  the  rude  figure  of  a  bear,  in  turquoise 
enamel,  and  blue,  green,  amber,  and  black  glazes, 

[90] 


PLATE  XXIX 


60,  61.  STAMPED  TILES 

Seville 
Thirteenth  Century 


67.  CUENCA  TILE 

Seville 
Dated  1543 


PLATE  XXX 


62.  MOSAIC  CUT  TILES 

Province  of  Andalusia    (?) 

Thirteenth  Century 


PLATE  XXXI 


63.  MOSAIC  TILE  WORK 

Seville 
Thirteenth  Century 


resembling  in  appearance  inlaid  or  mosaic  work, 
but  decorated  by  the  cuerda  seca  process.    Fawn- 
colored  clay. 
Seville,  seventeenth  century. 

65.  PANEL 

Dimensions,   10^4  x  io}4  inches. 

Cuerda  scca  style.  Four  tiles  forming  a 
continuous  geometrical  pattern.  Design,  eight- 
pointed  stars  in  white,  enclosed  in  dark-brown 
stars,  surrounded  by  strap-work.  The  colors  are 
brown,  yellow,  blue,  green,  and  white  —  the 
exact  colors  of  the  genuine  mosaics. 
Seville,  sixteenth  century.  PLATE  XXXII 

66.  PANEL 

Dimensions,  10  x  10  inches. 

Cuerda  scca  style.     Mosaic  design  composed 
of  four  tiles  forming  triangular-shaped  sections 
arranged  to  represent  six-pointed  stars.     Colors, 
honey  yellow,  black,  blue,  green,  and  white. 
Seville,  sixteenth  century. 

67.  TILE 

Dimensions,  2>Y&  x  3M?  inches. 

Diagonal  label  enclosing  the  date  1543. 
Ornament  above  and  below.  Intaglio  (cuenca) 
treatment  filled  in  with  brown  and  blue  glazes 
on  a  stanniferous  white  ground.  Light  red  clay. 
Seville,  sixteenth  century.  PLATE  XXIX 

[97] 


68.  TILE 

Dimensions,   3   x   5^4    inches. 

Intaglio  (cuenca)  decoration  of  conventional 
plant  form  filled  with  green,  brown,  and  blue 
glazes  on  stanniferous  white  ground.  Taken 
from  the  San  Nicolas  church  in  Santo  Domingo 
City,  Republic  of  Santo  Domingo,  West  Indies, 
built  in  1509.  Coarse-grained  pink  and  white 
clay. 
Seville,  early  sixteenth  century. 

69.  TILE 

Dimensions,  6x6  inches. 

Intaglio  (cuenca)  decoration.  A  shield  bear- 
ing the  inscription,  "AvE  MARIA  GRACIA  PLEA," 
the  arms  of  Garcilaso  de  la  Vega,  surrounded  In- 
looped  border  design  in  light  blue.  Filled  with 
brown,  blue,  and  green  glazes  on  a  stanniferous 
white  ground.  Pale  reddish  clay. 
Seville,  seventeenth  century. 

70.  TILE 

Dimensions,  6^4  x  6^4  inches. 

Relief     decoration     of     conventional     plant 
design,    covered    with    brown,    blue,    and    green 
glazes,     surrounded     by    a     stanniferous     white 
ground.     Light  red  clay. 
Seville,  seventeenth  century. 

[98] 


PLATE  XXXII 


76 


77 


CUERDA  SECA  TILE  PANEI.S 

Imitating  Mosaic  Work 

Sixteenth  Century 


79 


71.  TILE 

Dimensions,  3^4  x  5^  inches. 

Arms,    in    white    stanniferous    enamel    and 
brown   glazes,    in    relief,    on    a   green   enameled 
ground.     Cuenca  style.     Fawn-colored  clay. 
Seville,  sixteenth  century.  PLATE  XLIV 

72.  PANEL 

Dimensions,  3  x  37  inches. 

Cuenca  style.      Composed   of   seven   pieces. 
Border  design  of  strap-work  in  the  usual  cuenca 
colors. 
Seville,  seventeenth  century. 

73-  PANEL 

Dimensions,  10  x  10  inches. 

Cuerda  seca  style.    Mosaic  design,  composed 
of  eight-pointed  stars,  surrounded  by  white  strap- 
work  in  cruciform  figures;    colors  as  in  preced- 
ing. 
Seville,  sixteenth  century. 

74.  PANEL 

Dimensions,  9^x45^4   inches. 

Cuerda  seca  style.  Mosaic  pattern,  composed 
of  twenty  4^2 -inch  tiles,  with  continuous  design 
of  strap- work  in  radiating  pattern,  formed  by 
sections  of  varying  design,  in  the  same  colors  as 
preceding. 

Seville,  sixteenth  century.  PLATE  XXXIII 

[101] 


75-  PANEL 

Dimensions,  9*4  x  45^4  inches. 

Cuerda  scca  style.  Mosaic  pattern,  similar 
to  preceding,  consisting  of  twenty  4  /-^  -inch  tiles 
with  continuous  strap-work  design  forming  five 
large  twelve-pointed  stars  ;  colors  as  in  preced- 

ing- 

Seville,  sixteenth  century.  PLATE  XXXIII 

76.  PANEL 

Dimensions,    iol/2  x  iol/2    inches. 

Cuerda  scca  style.  Composed  of  four  tiles, 
showing  a  strap-work  pattern  enclosing  small 
eight-sided,  crown-shaped  and  elongated  hexag- 
onal figures  forming  a  central  star  in  blue,  green, 
dark  brown,  and  honey  yellow  glazes. 
Seville,  sixteenth  century.  PLATE  XXXII 

77.  PANEL 

Dimensions,   io}4  x  ioj4   inches. 

Cuerda  seca  style.  Composed  of  four  tiles, 
forming  a  strap-work  design  enclosing  small 
eight-pointed  stars  in  colored  glazes,  each  one 
containing  a  smaller  star  in  the  centre.  Colors 
of  glazes  similar  to  the  preceding. 
Seville,  sixteenth  century.  PLATE  XXXII 

78.  PANEL 

Dimensions,  10%  x  10%  inches. 


Cuerda  seca  style.     Composed  of  four  tiles, 
each  one  with  a  blue  eight-pointed  star  enclosing 
[102] 


PLATE  XXXIII 


*rar 


m 


* 


w'l-S 

M 


a   smaller   white   star   in   centre,    surrounded  by 
small  pentagonal  figures.     Glazes  similar  in  col- 
oring to  preceding. 
Seville,  sixteenth  century. 

79.  PANEL 

Dimensions,    iol/2  x  ioj^   inches. 

Cuerda  seca  style.  Composed  of  four  tiles, 
forming  together  a  circle  in  blue  divided  into 
sections  by  strap-work  and  surrounded  by  a  ring 
of  irregular  stars  in  brown.  Similar  in  coloring 
to  preceding. 

From  La  Casa  de  los  Azulejos,  Carmona. 
Seville,  sixteenth  century.  PLATE  XXXII 

80.  PANEL 

Dimensions.  9^x11   inches. 

Cuenca  style.  Composed  of  two  long  tiles. 
Design  consisting  of  a  circle  enclosing  a  rosette 
with  leaf-shaped  petals.  Encircling  this  is  a  band 
of  tulip-like  motives  from  which  spring  flame- 
shaped  motives,  enclosed  in  an  outer  lozenge- 
shaped  square.  The  corners  are  occupied  by  floral 
ornaments.  Decoration  in  blue  and  luster  with 
greenish,  violet,  and  golden  reflections. 
Seville,  sixteenth  century. 

From  Iglesia  de  Santiago,  Carmona. 

Coated  with  white  slip  and  glazed  with  lead. 

Gestoso  figures  a  tile  of  this  pattern. 

[105] 


81.  PANEL 

Dimensions,   io}Xxii   inches. 

Cucnca  style.  Composed  of  two  long  tiles. 
The  pattern  consists  of  a  circular  wreath  of 
pointed  leaves  in  blue,  enclosing  a  quartered 
design  of  leaf-like  appearance  in  blue,  and  low- 
toned  brownish  luster. 
Seville,  sixteenth  century. 

From  Iglesia  cle  San  Felipe,  Carmona. 

Coated  with  white  slip  and  glazed  with  lead. 

82.  PANEL 

Dimensions,  22  x  22  inches. 

Cuenca  style.  Design  consists  of  nine  5^4- 
inch  tiles,  each  decorated  with  a  four-pointed 
figure,  formed  by  intertwined  circles,  separated  by 
four  leaf-like  motives.  The  coloring  is  blue,  and 
brown  luster  of  low  tone.  Around  the  edges  are 
border  tiles  embellished  with  circles  (resembling 
the  Tai-chi  symbol  of  Chinese  character). 

Coated  with  white  slip  and  glazed  with  lead. 
Seville,  sixteenth  century.  PLATE  XXXIV 

83.  PANEL 

Dimensions,  11%  x  19^  inches. 

Cucnca    style.      Design   composed    of    eight 
5-inch  tiles,  with  running  design,   consisting  of 
quatrefoil  figures,  enclosing  and  surrounded  by 
[106] 


PLATE  XXXIV 


82.  CUENCA  TILE  PANEL 

Blue  Enamel  and  Luster 

Sixteenth  Century 


conventional  leaf  forms  in  blue  color  and  brown 
luster  of  low  tone. 
Valencia,  sixteenth  century. 

From  Iglesia  de  Santiago,  Carmona. 

Coated  with  white  slip  and  glazed  with  lead. 

84.  SHIELD 

Dimensions,  9^  x   10  inches. 

Cucnca  style.  Composed  of  two  horizontal 
tiles.  An  undimidiated  and  dimidiated  coat, 
showing  the  union  of  the  Bourbon  and  Castile- 
Leon  houses  —  three  fleur-de-lis  in  reddish  luster 
of  low  tone  on  blue  ground,  impaling  a  triple- 
towered  castle,  and  lion  rampant  in  brown  on  a 
white  field. 
Seville,  sixteenth  century.  PLATE  XXXV 

85.  SHIELD 

Dimensions,  9^4  x  10  inches. 

Cnenca  style.  Composed  of  two  tiles  similar 
to  preceding.  ARMS.  —  A  bendy  shield,  green 
glaze  and  luster,  parted  per  saltire,  bearing  in- 
scription, "AvE  MARIA  GRACIA  PLENA."  Luster 
of  reddish  and  greenish  tint,  of  low  tone. 
Seville,  sixteenth  century.  PLATE  XXXV 

86.  PANEL 

Dimensions,   13^  x  17  inches. 

Brick-red   clay   coated    with   white    slip    on 
which  has  been  painted  the  archaic  figure  of  a 
[109] 


bull,  above  which  is  a  dog,  both  in  black,  the 
background  being  filled  with  scroll-work  in  dark 
red,  which  was  added  at  a  more  recent  period. 
There  is  no  trace  of  glazing. 

87.  PANEL 

Dimensions,    14x14   inches. 

Cncnca  style.  Composed  of  four  square 
7-inch  tiles,  decorated  with  strap-work  arranged 
in  lozenge  form,  in  which  figures  of  small  eight- 
pointed  stars  form  part  of  the  design.  In  the 
centre  of  each  tile  is  a  shield  bearing  in  Arabic 
the  inscription  "And  no  one  is  supreme  except 
Allah."  At  the  points  of  junction  of  the  tiles 
the  same  design  appears  in  separate  circular  tiles 
which  have  been  inserted.  The  colors  are  blue, 
yellowish  brown,  and  white. 
Seville,  sixteenth  century.  PLATE  XXXVI 


88.  PANEL 

Dimensions,  iol/4  x  ioM  inches. 

Cuerda  scca  style.     Composed  of  four  tiles. 
with  conventional   leaf-shaped  figures   separated 
by  strap-work ;   the  colors  of  the  glazes  are  blue, 
green,  dark  brown,  honey  yellow,  and  white. 
Seville,  sixteenth  century.  PLATE  XXXVII 


[no] 


PLATE  XXXV 


H 


=  O 


u  ^ 

IT)      C/3 

oo    g 


X 

•7. 


"°   I 
X 


GO     <n 

£ 


TILE  PANEL  WITH  ARABIC  INSCRIPTION 

Seville 
Sixteenth  Century 


PLATE  XXXVII 


88.  CUERDA  SECA  TILE 
Sixteenth  Century 


99.  CUENCA  TILE 
Seventeenth  Century 


142.  CUENCA  TILE 
Sixteenth  Century 


8g.  PANEL 

Dimensions,  n  x  19*4  inches. 

Cuenca  style.  Similar  in  design,  coloring 
and  luster  to  No.  80.  Coated  with  white  slip  and 
lead  glazed. 

From  Inglesia  de  Santiago,  Carmona. 
Seville,  sixteenth  century. 

90.  PANEL 

Dimensions,  g^  x  10  inches. 

Cuenca  style.      Similar   in   design,   coloring 
and  luster  to  No.  80. 
Seville,  seventeenth  century.  PLATE  XXXVIII 

91.  PANEL 

Dimensions,  10^2x315/2  inches. 

Cuenca   style.      Composed   of   twelve   tiles, 
forming  lozenge-shaped   squares,   enclosing  ara- 
besque ornamentation  in  blue  and  luster  of  low 
tone. 
Seville,  sixteenth  century.  PLATE  XXXVIII 

92.  PANEL 

Dimensions,   105/2x31^2  inches. 

Cuenca  style.     Companion  to  preceding. 

93.  PANEL 

Dimensions,  6*4  x  9  inches. 

Cuenca   style.      Composed   of   three   border 
tiles  with  serrated  and  strap-work  ornament  in 
colored  glazes  on  white  tin  enamel  ground. 
Seville,  seventeenth  century. 


94.  PANEL 

Dimensions,  ii^xii^  inches. 

Cuenca  style.  Composed  of  four  tiles,  with 
strap-work  design  enclosing  many-pointed  tiles  in 
green  and  brown. 

From  El  Transito,  Toledo. 
Seville,  seventeenth  century.  PLATE  XXXIX 

95.  PANEL 

Dimensions,  824  x  91A  inches. 

Cuenca  style.     Composed  of  two  long  tiles. 
Divided  into  lozenge-shaped  panels,  each  enclos- 
ing a   quatrefoil   leaf-shaped   ornament,   in  blue 
and  green  glazes. 
Seville,  seventeenth  century. 

96.  PANEL 

Dimensions,  9^x9^4   inches. 

Cuenca  style.  Composed  of  four  tiles  with 
cross-shaped  design  in  strap-work,  each  enclosing 
a  small  eight-pointed  star.  Colors  blue,  dark 
brown,  honey  yellow,  and  white. 

From  Casa  de  los  Azulejos,  Carmona. 
Seville,  seventeenth  century. 

97.  PANEL 

Dimensions,  10x10  inches. 

Cuenca  style.     Composed  of  four  tiles  with 
plant-motive  ornament  arranged  in  cross   form. 
[118] 


PLATE  XXXVIII 


ic8 


CUENCA  TILE  PANELS 

Blue  Enamel  and  Luster 

Sixteenth  Century 


Colors  of  glazes,  dark  brown,  green,  blue,  and 
light  brown,  on  white  ground. 

From  Torre  de  la  Iglesia  de  Mairena. 
Seville,  seventeenth  century.  PLATE  XXXIX 

98.  PANEL 

Dimensions,  u^xi2j4  inches. 

Cuenca  style.  Composed  of  four  tiles,  form- 
ing a  large  central  design  of  a  many-rayed  ro- 
sette; in  the  four  corners  the  same  design  quar- 
tered. Glazed  in  the  usual  cuenca  colors  —  dark 
brown,  green,  and  honey  yellow,  on  stanniferous 
white  ground. 

From  El  Transito,  Toledo. 
Seville,  seventeenth  century.  PLATE  XXXIX 

99.  PANEL 

Dimensions,  9^  x  10  inches. 

Cuenca  style.  Formed  of  two  long  tiles, 
forming  a  circular  design  enclosing  a  leaf-shaped 
ornament,  surrounded  by  flame  and  spear  points, 
the  whole  enclosed  in  a  square  arranged  in  loz- 
enge form.  Glazes  of  the  usual  cuenca  colors. 
Seville,  seventeenth  century.  PLATE  XXXVII 

100.  PANEL 

Dimensions,  9%  x  10^4  inches. 

Cuenca  style.     Composed  of  two  long  tiles, 
with  circular  wreath  of  laurel  leaves  enclosing 
conventional  leaf  and  plant  ornaments. 
Seville,  seventeenth  century. 

[121] 


101.  PANEL 

Dimensions,  "jl/2  x  11%  inches. 

Cuenca  style.  Composed  of  six  tiles  of 
various  conventional  and  geometrical  patterns. 

From  El  Transito,  Toledo. 
Seville,  seventeenth  century. 

102.  PANEL 

Dimensions,  13^2  x  135/2  inches. 

Cuenca  style.  Composed  of  four  tiles,  form- 
ing a  central  rosette  in  dark  brown,  surrounded 
by  spear-shaped  ornaments  in  imitation  of  mosaic 
work.  The  glazes  are  of  the  usual  cucnca  colors, 
with  the  addition  of  manganese  or  mauve. 

From  El  Transito,  Toledo. 
Seville,  seventeenth  century. 

103.  PANEL 

Dimensions,   io*4  x  10^4  inches. 

Cuenca  style.  Composed  of  four  tiles  with 
lozenge-shaped  panels  enclosing  quatrefoil  leaf- 
shaped  ornaments  in  the  usual  cucnca  colors. 

From  Torre  de  la  Iglesia  de  Mairena. 
Seville,  seventeenth  century.  PLATE  XXXIX 

104.  PANEL 

Dimensions,   n  x  nj4  inches. 

Cuenca  style.     Composed  of  four  tiles  with 
strap- work   and    conventional    leaf -shaped    orna- 
ments in  the  usual  cucnca  colors. 
Seville,  seventeenth  century. 

[122] 


PLATE  XXXIX 


94 


97 


CUENCA  TILE  PANELS 
Glass  Glaze  Colors 
Seventeenth  Century 


103 


105.  PANEL 

Dimensions,  9^4  x  10^2  inches. 

Cuenca  style.  Composed  of  two  long  tiles, 
forming  a  large  circular  band  decorated  with 
yellow  scroll-work  on  a  blue  ground.  In  the 
centre,  conventional  leaf  ornaments  in  green, 
blue,  and  yellow. 
Seville,  seventeenth  century.  PLATE  XL 

106.  PANEL 

Dimensions,  n  x  12  inches. 

Cuenca  style.     Composed  of  two  long  tiles, 
forming  a  large  octagon  arranged  with  points  at 
top,    bottom    and    sides,    enclosing    conventional 
floral  motives  in  the  usual  cuenca  colors. 
Seville,  seventeenth  century. 

107.  PANEL 

Dimensions,  nJ4  x  II//2  inches. 

Cuenca  style.     Companion  to  preceding,  but 
varying  slightly  in  coloring. 
Seville,  seventeenth  century. 

108.  PANEL 

Dimensions,   ioxio}4  inches. 

Cuenca  style.  Composed  of  two  long  tiles. 
Design  octagonal,  decorated  with  bands  of  dots, 
mosaic  pattern,  and  an  acanthus-leaf  rosette  in 
centre.  In  corners  fan-shaped  ornaments.  Blue 

[125] 


enamel   and   coppery   luster   of    low   tone.      Tin 

enameled. 

Seville,  sixteenth  century.  PLATE  XXXVIII 

109.  PANEL 

Dimensions,  7  x  i6^4   inches. 

Composed  of  three  tiles.  The  central  one 
consists  of  small  pieces  cut  into  cross,  eight- 
pointed  star  and  strap-work  shapes  and  fitted 
together  as  a  mosaic.  The  colors  of  the  glazes 
are  green,  dark  brown,  and  light  brown.  The 
strap-work,  enameled  in  white,  is  lined  with  pale 
blue. 

The  two  end  tiles  are  of  the  cucnca  style, 
in  geometrical  designs,  in  the  usual  colors. 
Seville,  seventeenth  century. 

1 10.  PANEL 

Dimensions,  3^4  x  15^4  inches. 

Cucnca    style.      Composed    of    four    square 
tiles,  each  decorated  with  a  dog  or  a  rabbit  in 
colored  glazes  on  a  white  stanniferous  ground. 
Seville,  seventeenth  century.  PLATE  XLI 

in.  PANEL 

Dimensions,  nj^xiij^  inches. 

Cucnca  style.  Composed  of  four  tiles.  Sim- 
ilar to  No.  98  in  coloring  and  design. 

From  El  Transito,  Toledo. 
Seville,  seventeenth  century. 
[126] 


PLATE  XL 


105 


128 


CUENCA  TILE  PANELS 

Glass  Glaze  Colors 
Sixteenth  and  Seventeenth  Centuries 


PLATE  XLI 


H 


^^ 


OH 


•J 

r- 


be 


.< 


H2.  PANEL 

Dimensions,   11x22  inches. 


Cucnca    style.      Composed    of    eight    tiles. 
Design  of  rosettes  or  star-shaped  ornaments  in 
brown  and  in  green,  on  white  ground. 
Seville,  sixteenth  century. 


113.  PANEL 

Dimensions,   iij^xii^  inches. 


Cucnca  style.     Composed  of  four  tiles.     In 
centre  a  green  rosette  surrounded  by  star-shaped 
ornaments  in  dark  brown. 
Seville,  seventeenth  century. 

114.  PANEL 

Dimensions,   9^  x  10  inches. 

Cuenca  style.     Composed  of  two  long  tiles, 
forming  a  square  design  with  arched  sides,  en- 
closing a  conventional  plant  design.     Glazes   in 
the  usual  cuenca  colors. 
Seville,  seventeenth  century. 

115.  PANEL 

Dimensions,  gl/2  x  io*4  inches. 

Cuenca  style.     Composed  of  two  long  tiles, 
forming  a  bold  conventional  leaf  design  in  the 
usual  cuenca  colors. 
Seville,  seventeenth  century. 

[131] 


n6.  PANEL 

Dimensions,  10%  x  2Ql/2  inches. 


Cuenca  style.     Composed  of  four  long  tiles, 
forming  two  octagonal  figures,   enclosing  acan- 
thus leaf  design.     Herring-bone  border.     Glazes 
in  the  usual  cuenca  colors. 
Seville,  sixteenth  century. 

117.  PANEL 

Dimensions,  nxii  inches. 

Cuenca    style.      Composed    of     four    tiles  ; 
checkerboard  design,  arranged  in  lozenge  form, 
in  the  usual  cuenca  colors. 
Seville,  seventeenth  century. 


118.  PANEL 

Dimensions,  io*4  x  ioj^  inches. 


Cuenca  style.     Composed  of  four  tiles  with 
quatrefoil  designs  in  the  usual  cuenca  colors. 
Seville,  seventeenth  century. 

119.  PANEL 

Dimensions,  11^x23  inches. 

Cuenca  style.  Composed  of  eight  tiles,  form- 
ing two  large,  many-pointed  stars  in  dark  brown 
with  radiating  strap-work  in  white.  Circles  of 
pointed  ornaments  around  the  outside  in  green 
and  honey  yellow  glaze. 
Seville,  seventeenth  century. 

[132] 


120.  PANEL 

Dimensions,  9^4  x  IO/4   inches. 

Cuenca  style.     Composed  of  two  long  tiles. 
Similar  to  114. 

121.  PANEL 

Dimensions,  Bl/2  x  95/2  inches. 

Cuenca  style.     Composed  of  two  long  tiles. 
Design,  a  large  four-armed  figure  enclosing  con- 
ventional   leaf    ornament,    in    the    usual    cuenca 
colors. 
Seville,  sixteenth  century. 

122.  PANEL 

Dimensions,  io^4  x  IS/4  inches. 

Cuenca  style.     Consisting  of  six  tiles  with 
conventional  designs  in  the  usual  cuenca  colors. 
Seville,  sixteenth  century. 

123.  PANEL 

Dimensions,  9^2  x  9^4  inches. 

Cnenca  style.     Composed  of  two  long  tiles. 
Design,  an  eight-pointed  star  enclosing  conven- 
tional leaf  ornament  in  the  usual  cuenca  colors. 
Seville,  sixteenth  century. 

124.  PANEL 

Dimensions,  9^2  x  iol/2  inches. 

Cuenca  style.     Composed  of  two  long  tiles. 
Design,  an  oval  with  pointed  sides,  scroll-work 
and  leafage  in  the  usual  cuenca  colors. 
Seville,  sixteenth  century. 

[1331 


125.  PANEL 

Dimensions.  g^4  x  10  inches. 

Cuenca  style.  Composed  of  two  long  tiles, 
forming  a  four-lobed  figure  enclosing  conven- 
tional leaf  ornaments,  in  the  usual  cucnca  colors. 
Seville,  sixteenth  century. 

126.  PANEL 

Dimensions,  9-^4  x  10  inches. 

Cucnca  style.     Composed  of  two  long  tiles. 
Flower  and  leaf  arabesque  design,  in  the  usual 
c-uenca  colors. 
Seville,  sixteenth  century. 

127.  PANEL 

Dimensions,  9^4  x  30^/2   inches. 

Cuenca  style.     Composed  of  six  long  tiles, 
each  decorated  with  a  four-lobed  oval  enclosing 
tulip-like  designs,  in  the  usual  cucnca  colors. 
Seville,  sixteenth  century. 

128.  PANEL 

Dimensions,   10x10  inches. 

Cucnca  style.  Composed  of  two  long  tiles 
of  same  design  and  coloring  as  preceding. 

PLATE  XL 

129.  PANEL 

Dimensions,   gl/2  x  30^2   inches. 

Cucnca  style.  Composed  of  six  long  tiles 
of  same  design  and  coloring  as  preceding. 

[I34l 


PLATE  XLII 


143.  TILE  WITH  HERALDIC  DEVICE 

Seville 
Seventeenth  Century 


PLATE  XLIII 


MH^"5?rr3i^v  ^r  x'S&P^/    ^k-y,  * 

^L     ^k 


144.  PAINTED  TILE  PANEL 

Talavera 
Eighteenth  Century 


130.  PANEL 

Dimensions,  9^4  x  25)4  inches. 

Cucnca  style.  Composed  of  five  long  tiles, 
similar  to  No.  126. 

131.  PANEL 

Dimensions,   11x11^2   inches. 

Cucnca  style.     Composed  of  two  long  tiles, 
forming    a     four-pointed    and     four-lobed    star 
enclosing  conventional  leaf  ornament,  in  the  usual 
cucnca  colors. 
Seville,  sixteenth  century.  PLATE  XL 

132.  PANEL 

Dimensions,  9^4  x  9^4  inches. 

Cncnca   style.      Formed   of   two   long  tiles, 
decorated  with  conventional  leaf  pattern,  in  the 
usual  cucnca  colors. 
Seville,  sixteenth  century. 

133.  PANEL 

Dimensions,  9^  x  IO  inches. 

Cucnca  style.  Composed  of  two  long  tiles, 
forming  a  large  four-lobed  figure  enclosing  con- 
ventional leaf  motives,  in  the  usual  cucnca  colors. 
Seville,  sixteenth  century. 

134.  PANEL 

Dimensions,  9^4  x  18*^2  inches. 

Cucnca  style.  Composed  of  four  long  tiles, 
forming  two  large  eight-pointed  stars  enclosing 

[139] 


and   surrounded   by   leaf   motives,    in   the   usual 

cuenca  colors. 

Seville,  sixteenth  century. 

135.  PANEL 

Dimensions,  iol/2  x  io^4  inches. 

Cuenca  style.     Composed  of  two  long  tiles, 
forming   a    four-lobed   figure    enclosing   conven- 
tional leaf  design,  in  the  usual  cuenca  colors. 
Seville,  sixteenth  century. 

136.  PANEL 

Dimensions,  loxio^  inches. 

Cuenca  style.     Composed  of  two  long  tiles, 
forming  a  circular  design   enclosing  leaf   orna- 
ments, with  pear-shaped  ornaments  in  the  four 
corners.     Glazed  in  the  usual  cuenca  colors. 
Seville,  sixteenth  century. 

137.  PANEL 

Dimensions,  gl/2  x  10  inches. 

Cuenca  style.     Composed  of  two  long  tiles, 
forming  a  large  circular  wreath  enclosing  pome- 
granates, in  the  usual  cuenca  colors. 
Seville,  sixteenth  century.  PLATE  XL 

138.  PANEL 

Dimensions,  10x15  inches. 

Cuenca  style.     Composed  of  six  square  tiles, 
enameled  blue  and  white  and  forming  a  conven- 
tional design  of  simple  form. 
Spanish,  eighteenth  century. 
[140] 


PLATE  XLIV 


M 
u 

25   -~ 


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X 
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1.39.  PAXKL 

Dimensions,  ioxioj4  inches. 

Ciicnca  style.  Composed  of  two  long  tiles, 
forming  a  circular  design  enclosing  a  conven- 
tional leaf  ornament.  At  top  and  bottom  a  her- 
ring-bone border  design.  Glazed  in  the  usual 
cucnca  colors. 
Seville,  sixteenth  century. 

140.  PANEL 

Dimensions,  9^4  x  To/4  inches. 

Cucnca  style.     Composed  of  two  long  tiles; 
same  design  and  coloring  as  No.  133. 

141.  TILE 

Dimensions.  5^  x  5?-^   inches. 

Cucnca  style.     Rosettes  enclosed  in  octagons 
with  surrounding  strap-work,  in  the  usual  cucnca 
colors. 
Toledo,  sixteenth  century. 

142.  TILE 

Diameter,  6^  inches. 

Cucnca   style.      Hexagonal    form,    enclosing 
two  triangles  arranged  as  a  six-pointed  star,  in 
the  usual  colors. 
Seville,  sixteenth  century.  PLATE  XXXVII 

[143] 


i A3-  TILE 

Dimensions,  4^x5^4  inches. 

Cucnca    style.      Design,    a    shield    of    arms, 
quartered:   1-4,  an  ox;    2-3,  a  cauldron  over  a 
fire.     Colors  of  glaze,  blue,  brown,  green,  and  a 
greenish  yellow. 
Seville,  seventeenth  century.  PLATE  XLI1 

144.  PANEL 

Dimensions,   13  x  \6]/\  inches. 

Painted  tile.     Arms  of  Leon  and  Castile  in 
blue  in  lozenge  form.    The  four  corners  are  deco- 
rated with  leaf  designs. 
Talavera,  early  eighteenth  century.      PLATE  XL1II 

145.  TILE 

Dimensions,  4x4  inches. 

Arabesque  design  in  black  glaze,  the  ground 
having  been  cut  away,  possibly  at  one  time  hav- 
ing been  filled  with  an  inlay  of  clay  or  glaze. 

146.  TILE 

Dimensions,  5^4  x  5*4  inches. 

Geometrical    design    in    white    stanniferous 
enamel  and  blue,  green,  and  brown  glazes.     From 
the  church  of  Mercedes  in  Santo  Domingo  City, 
built  about  1530.     Pale  reddish  clay. 
Seville,  sixteenth  century. 

[144] 


PLATE  XLV 


151.  PAINTED  PANEL,  PISANO  STYLE 

Seville 
Eighteenth  Century 


PLATE  XLVI 


152.  PAINTED  PANEL,  PISANO  STYLE 

Seville 
Eighteenth  Century 


i -17-  TILE 

Dimensions,  5^4   x  5/4  inches. 

Diagonally    separated    into    two    parts,    one 
dark  blue,  the  other  white  stanniferous  enamel. 
From  an  old  church  in  Higney,  Santo  Domingo. 
Pinkish  clay. 
Talavera,  late  seventeenth  century. 

148.  BRICKS    (Pair) 

Length,  6^4  inches. 
Width,    3    inches.      Thickness.    il/2    inches. 

Designs,  fleur-de-lis  and  three-towered  castle, 
inlaid  with  white  clay  in  deep  red  clay  and  cov- 
ered with  yellowish  lead  glaze. 
Old  Spanish.  PLATE  XLIV 

149.  PANEL 

Dimensions,  23^4  x  24  inches. 

Consisting  of  square  tiles  of  various  kinds, 
principally  of  cucnca  style.  The  central  one  with 
head  of  warrior  is  painted  in  polychrome,  and, 
with  two  painted  tiles  at  the  bottom  and  one  near 
the  upper  left-hand  corner,  in  compass  design, 
belongs  to  the  eighteenth  century. 

150.  PANEL 

Dimensions,   5  x  32^4   irches. 

Composed  of  three  long  tiles  painted  with 
pagodas,  figures  of  birds,  a  camel,  trees  and 

[i49l 


flowers.     Colors,  blue,  green,  orange,  yellow,  and 

manganese. 

Talavera,  eighteenth  century.  PLATE  XLI 

151.  PANEL 

Dimensions,  22^  x  23^   inches. 

Pisano  style.  Painted  in  colors  on  a  flat 
surface,  in  blue,  green,  yellow,  orange  and  man- 
ganese. In  a  circle  in  centre  the  figure  of  Santo 
Domingo,  with  book  in  right  hand  and  cluster 
of  lilies  in  left.  At  top  a  seraph's  head.  At 
each  lower  corner  a  seated  dog  holding  a  burn- 
ing flambeau  in  his  mouth. 
Seville,  early  eighteenth  century.  PLATE  XLV 

152.  PANEL 

Dimensions,  22^  x  23^4   inches. 

Pisano  style.  A  companion  to  preceding. 
In  centre  a  bishop  with  pastoral  staff.  The 
figure  is  evidently  intended  to  represent  Albertus 
Magnus  (Albert  the  Great),  a  scholastic  philos- 
opher, who  was  a  member  of  the  Dominican 
order  in  the  thirteenth  century,  and  Bishop  of 
Ratisbon  (Bavaria)  in  1260. 
Seville,  early  eighteenth  century.  PLATE  XLVI 


[ISO] 


A     000  088  690     3 


Printed 

At  the  Sign  of  the  Ivy  Leaf  in  Sansom  Street 
Philadelphia 


